Los Angeles daily herald., 1887-03-03
DAILY HERALD.
EDWIN BOOTH.
Hls Appearance as Rfchelieu
Last Evening.


Hls Appearance as Richelieu
Last Evening.
Bulwer could not have selected more
dramatic period than the early part OF
che reign Of Louis XIII. upon which to
base . play. nor conld he have found a
Rrander or more suitable parsonage in
the whole range of history than Richie
lieu for its hero. The dramatic student
will find q strong coincidence in the
character and the parts played in the
history of their respective countries
between the great French CARDINAL
Minister. Richelieu, and the great
Enrlish Cardinal. Minister, Wolsey.
Shakespeare, With his unarproachable
eenius. has invested the latter with q
9lamour of loftiness which his real
character and achievements do not war
rant. We do not doubt that Shakes
psare's "Wolssy" suggested to Bulwer
Che selection of Richelieu as the central
figure for his drama. Given the charac-
ier and the period, and the noble play
fright was rich in material for the
oonstru ction of most powerful play.
Al the beginning of the seventeenth
century France was in adepiorable posi-
tion, and required q strong hand and q
clear head to bring her successfully
through most critical period. A young
prince. without strength of intellect
or natural kingly attributes, had just
asosnded the throne. The great mobiles
were defiant Of central authority and
determined to perpetuate the great
mower which feudalism had secured
% them. Marie de Medecis, the Queen
mother. italian in her birth and in.
stincta. and more disposed to rule by
Machiavellian indirection than by wise
maxims. aggravated and increased the
number of factions that were running
France. About this time Armand de
Richslieu took his seat in the States
General ss q representative of the clergy,
and by an address which attracted the
attention of the Queen mother, he OBJ
tanned 80 great consideration at Cour,
o. to be made Secretary at War and OF
Foreign Affairs. From this time he ex'
crcised all his great faculties to the
Strengthening of the authority OF the
Crown, and curbing the pretensions OF
the great mobiles. The resentment OF
the mobiles and the vacillating character
Of Louis, led to cabals and intrigues in:
Vulnerable to destroy the power OF
Richelieu. At this point, Bulwer finds
the material for his great drama. 10
Say that as composition Richetieu IS q
perfect piece, judged by any OF the
standards that govern the construction
of play, would be untrue. The verse
is sometimes stately and sometimes elo.
Quent, but it lacks sustained power.
The events themselves are are SO dra.
matte in their character, that they need
only to be related to form drama OF
intense interest. And this is the
reason that our best actors have,
ever since this play has be-
come . standard, taken partic'
ular pride in personating the char.
acter of the great Cardinal. 1t possesses
three distinguishing points which tes
the powers OF O good actor. First, it en-
Ables the actor to show strength in weak
ness; the virility of youth in age. Sec
ond, it is marked by passages in which
che most powerful dramatic effects car
be produced, and in which the actor car
display the intensity Of passion and thu
storm of action with unfailing success
Third, it touches the human sympathie'
through the media of patriotism and jus
tice. Mr.. Booth has made study o.
this character on the basis of this key tt
the entire action OF the play. From tht
tin,e.he opens the scene with 'Joseph,
until he closes the last act OF victory
L hin, salf tr
the grand height Of rescuing France
from dangerous peril, he never torgets
NOR suffers his audience to forget, tina
Justice and patriotism are the cardina
pertrayals of his art. "Good my liege
for justice, all place a temple, and al
seasons summer" is the splendid apoth
egm which runs through his entire per
sonation. And even when he finds him
self brought, as it were at bay, it is seer
that Mr.. Booth then remembers more
acuteIy than ever that justice and France
must be saved together, when he reluct
antly throws off his identity as French
Minister. and puts forth "the power
which in an age OF iron came forth tt
curb the great and raise the low.
This passage is really the granG
climax of the piece, and Booth renders i
with strength of passionate elocutioI
aad coincident stage effect which make'
Of it one Of the most striking scenes II
the whole range of the drama. Ant
when he thunders:
-".Mark where she stands!
Around her form draw the sacred circle
OF our solemn church. Set but foot
Within that holy ground, and a thy head
Vas thouCh IL wear a crOWn--I'll launch
The curse OF RomeP
The audience are thrilled with the
terrible power that he displays. We
lack space to go into the detail of al
that was strong and artistic in Mr..
Booths unspproachable representation
of this great Oh aracter. 1t was, if we
may be suffered to use the figure, like
. masterpiece in painting. The col
-ors were toned to the theme,
and the lights and shades SO
.artisticauy thrown in, that the whole
canvas presented marvel of symmet.
rical beauty. But we would not do full
Justice to the performance were we not
TO say that the central figure was excel
Iently sustained by the main characters
Miss Emma Vaders was a most accepta
bic sJulia;" and Mr.. Chas. Hanford, al
s.Barradas, ;" Mr.. John Malone as "dt
Mauprat," Mr.. Carl Ahrendt as
.Joseph," Mr.. Edwin Royle as "Hu
ruet," all sustained their roles very
satisfactorily; and a higher need o.
Draise is due to the very excellent rendi
zion Mr.. Walter Thomas gave OF thu
youthful role of Francois. " Besides
che excellence OF the minor actors, th'
mounting of the piece and the costumery
Of the performers throughout were his
torically correct. :, -,
|. Tonight, Hamlet, As Mr.. Booth
fame rests more particularly upon hisren
dition of the character of the melancholy
Prince than upon any other of his roles
the occasion will be one OF most In
tense interest.
Manager Wyatt wishes us to say tina